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[br]Набивка синтепух и стекляный гранулят. Пять шплинтовых креплений. Размер 35 см.[br]Существует в единственном экземпляре.
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In the Louvre Museum, Bonvin admired the genre paintings of the 17th-century Dutch and French masters and was also inspired by the works of the recently rediscovered Jean-Siméon Chardin, the 18th-century French still-life and genre painter. This work recalls The Card Players, a painting by the Dutch artist Pieter de Hooch. The placard hanging on the wall in the background bears the title GOODWIN, which is both an allusion to his family's inn, Le Bon Vin, in Vaugirard on the outskirts of Paris, and a play on the artist's surname Bonvin, or "good wine."
H: 19 3/4 x W: 14 5/8 in. (50.1 x 37.2 cm)
Framed H: 29 × W: 24 3/4 × D: 2 1/2 in. (73.66 × 62.87 × 6.35 cm)
medium: oil on panel
Walters Art Museum, 1931, by bequest.
[url=http://www.flickr.com/photos/75453791@N05/6813603531/][img]http://farm8.staticflickr.com/7143/6813603531_63ebd9f6b1_b.jpg[/img][/url]
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Two female saints, one with a jar and book and the other with a bird and palm, face to the left beneath a trefoil arch. Above, an angel kneels beneath a round arch and holds a censer and incense boat.
The panel has been broken and cut to conform with the arch at the top and has broken miters for hinges on the left side. The right border has been narrowed. There are traces of polychromy, particularly in the surrounds of the lower arch.
The back of the panel shows signs of having had a clasp attached to it and there are remains of a standing bearded saint in polychrome. The head of the saint is incised into the ivory.
Although the style of the carved figures on the front is broad, with apron-style drapery, that of the painted saint on the back is elegant and elongated, normally datable to about 1250-1260. While it seems likely that the ivory was painted in a second and very conservative atelier, the fact that the head of the saint is incised into the ivory suggests it was drawn by an ivory worker.
H: 6 5/8 x W: 1 3/4 in. (16.8 x 4.5 cm)
medium: ivory, traces of polychromy
style: Gothic
Walters Art Museum, 1931, by bequest.
The battle depicted here between flying and land
animals is from the fairy tale “The Wren and the
Bear.” The bear insults the wren, the king of the
birds, leading to a war. Most of Arthur Rackham’s
best-known illustrations combine intricate line
<br>work with delicate coloring (see works nearby).
However, he also produced some silhouette
illustrations like this one, created for a luxury
edition of <em>Fairy Tales of the Brothers Grimm.</em> The
illustration won a gold medal at the 1906 Milan
<br>International Exhibition, where it was exhibited as
<em>The Battle between the Air and the Earth.</em>
England, early 20th Century
brush and black ink and pen and black ink, with watercolor, on paper
Sheet: 36.7 x 25.8 cm (14 7/16 x 10 3/16 in.)
Gift of Mrs. Ralph Perkins in memory of Coburn Haskell
Léon Bonvin was born in Vaugirard, just outside Paris in 1834. Despite displaying great talent in the medium of watercolor he was largely unrecognized by his contemporaries. In 1866 he hanged himself at the age of 32, apparently due to financial difficulties. Working at his family's bar or "cabaret," he sketched and painted watercolors only in his spare moments, yet in the seven year period between 1859 and his death he created numerous exquisite still lifes of flowers and fruits, and subtle landscapes capturing fleeting atmospheric effects. There is evidence that, despite his rural home, Bonvin did have knowledge of the art world in Paris. His half-brother was the better known artist, François Bonvin. In addition Bonvin's still lifes show the influence of Jean-Siméon Chardin (1699-1779), whose work was undergoing a revival in the 1850s and 60s.
During the 19th century an appreciation of Bonvin's work was confined to a small circle of connoisseurs and collectors, most prominent among them William T. Walters, father of Henry Walters, founder of the Walters Art Museum. For much of the 19th century William displayed and stored his watercolors in a deluxe leather-bound album with a specially commissioned frontispiece and tailpiece by the renowned flower painter of the Lyon school, Jean-Marie Reignier (see WAM 37.1501 and 37. 1531). William's collection of Bonvin's work was acquired between 1862 and 1891, and eventually comprised 56 watercolors and one, rare oil; today, this is the largest collection of Bonvin's work in existence.
H: 9 11/16 x W: 7 5/16 in. (24.6 x 18.6 cm)
medium: watercolor with gum heightening, iron gall ink and pen, on slightly textured, moderately-thick, cream laid paper
Walters Art Museum, 1931, by bequest.
[1] In a diary entry Lucas records that Bonvin made 12 watercolors for William T. Walters in 1863. The commission was likely given on 12 February (see Randall, Diary of George A. Lucas, vol. 2, p. 150), on 14 October of the same year Lucas records "Bonvin delivered the 12th flower for W's - paid him the remaining 100 fs making 300 fs for the 12" (Randall, Diary of George A. Lucas, vol. 2, p. 163). This watercolor was likely hanging in Walters' Baltimore townhouse from 1885 (“The Walters Art Collection, Recent Additions – Barye, Millet, Bonnat – Bonvin’s Water Colors,” Baltimore Sun, 1 February 1886, p. 4.), described in R.B. Gruelle's catalogue of the gallery "Notes Critical and Biographical" (1895), p. 190.